胡霽榮. / "2007年8月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 185-197). / "2007 nian 8 yue". / Abstract also in English. / Hu Jirong. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 185-197). / Chapter 第一章 --- 引言 --- p.1 / Chapter 一、 --- 上海一一乍爲媒介的城市 --- p.1 / Chapter 二、 --- 上海電影史硏究的意義與新的角度 --- p.4 / Chapter 三、 --- 文章結構與行文思路 --- p.7 / Chapter 第二章 --- 電影院的建立與電影放映空間的更替 --- p.11 / Chapter 一、 --- 傳統娛樂場所裏的影戲“演´ح映 --- p.11 / Chapter 1 ´Ø --- 電影最初放映的時間與地點問題 --- p.11 / Chapter 2 ´Ø --- 寄居傳統娛樂場所與影戲“演´ح映 --- p.13 / Chapter 二、 --- 電影院的建立與影院放映電影的開始 --- p.20 / Chapter 1 ´Ø --- 上海第一家影戲院建立 --- p.21 / Chapter 2 ´Ø --- 影院電影放映與觀影規則 --- p.22 / Chapter 三、 --- 電影院與都市社會文化的變遷 --- p.28 / Chapter 1 ´Ø --- 電影院的建立與都市空間建築風格的變遷 --- p.28 / Chapter 2 ´Ø --- 電影院的規模化與都市新文化區域的産生 --- p.31 / Chapter 3 ´Ø --- 都市新文化消費與市民摩登心境 --- p.33 / Chapter 第三章 --- 中國電影製片業的興起與電影審查之濫觴 --- p.39 / Chapter 一、 --- 中國影業公司與中國電影的興起 --- p.39 / Chapter 1 ´Ø --- 上海電影活動之端倪 --- p.39 / Chapter 2 ´Ø --- 中國影業公司的勃興 --- p.41 / Chapter 3 ´Ø --- 中國影片的興起 --- p.46 / Chapter 4 ´Ø --- 早期電影觀：“影戲´ح觀 --- p.50 / Chapter 二、 --- 上海電影審查制度之濫觴 --- p.55 / Chapter 1 ´Ø --- 民國電影檢查之初始 --- p.55 / Chapter 2 ´Ø --- 上海電影審查制度的雛形 --- p.56 / Chapter 第四章 --- 中國電影的主體性建構與中國電影制度的建立 --- p.65 / Chapter 一、 --- 中國左翼電影運動與中國電影觀念的確立 --- p.65 / Chapter 1 ´Ø --- 中國左翼電影運動的剪影 --- p.65 / Chapter 2 ´Ø --- 電影觀念的變革與中國電影定位的確立 --- p.69 / Chapter 二、 --- 左翼電影的傳播革命：市場阻力與博 弈 --- p.77 / Chapter 1 ´Ø --- 好萊塢電影與觀眾口味 --- p.78 / Chapter 2 ´Ø --- 左翼電影的傳播策略與觀眾主體的培育 --- p.85 / Chapter 三、 --- 國民政府電影審查與電影制度的建立與影 響 --- p.96 / Chapter 1 ´Ø --- 中央電影檢查委員會的成立與對左翼電影的嚴禁 --- p.96 / Chapter 2 ´Ø --- 繼續打壓神怪武俠片與外國辱華片 --- p.100 / Chapter 3 ´Ø --- 電影審查與中國電影制度建立的意義 --- p.103 / Chapter 第五章 --- 印刷媒介與電影的傳播 --- p.106 / Chapter 一、 --- 印刷媒介在上海的發 展 --- p.106 / Chapter 1 ´Ø --- 印刷與攝影技術的傳入 --- p.106 / Chapter 2 ´Ø --- 近代上海印刷出版業的發展 --- p.108 / Chapter 二、 --- 印刷媒介對電影發展的影 響 --- p.110 / Chapter 1 ´Ø --- 上海早期電影報刊業掃描 --- p.110 / Chapter 2 ´Ø --- 上海早期電影刊物槪述 --- p.117 / Chapter 第六章 --- 圖像與影像之間：都市形象與都會現代性建構 --- p.133 / Chapter 一、 --- 《良友畫報》與電影：圖像上海的營 造 --- p.133 / Chapter 1 ´Ø --- 《良友》的代表性 --- p.133 / Chapter 2 ´Ø --- 電影對於《良友》的影響 --- p.135 / Chapter 3 ´Ø --- 現代都市圖景的建構 --- p.142 / Chapter 二、 --- 早期電影中的“上海´ح --- p.155 / Chapter 1 ´Ø --- 都市經驗的上海模式 --- p.155 / Chapter 2 ´Ø --- 對於“上海´ح的影像批判 --- p.159 / Chapter 三、 --- 上海的記憶與想 像 --- p.167 / Chapter 1 ´Ø --- 今日“上海´ح的歷史鏡像 --- p.167 / Chapter 2 ´Ø --- 結語：今日影像“上海´ح的懷舊製造 --- p.169 / Chapter 第七章 --- 總結 --- p.172 / 圖表目錄： / Chapter 圖1: --- 〈做影戲〉（《圖畫日報》） --- p.18 / Chapter 圖2: --- 〈虹口影戲院〉（《良友》） --- p.21 / Chapter 圖3: --- 〈四馬路影戲之喧嘩〉(《圖畫日報》） --- p.25 / Chapter 圖4: --- 〈大光明電影院〉（《上海檔案資訊網》） --- p.29 / Chapter 圖5: --- 〈徐園〉(《圖畫日報》） --- p.29 / Chapter 圖6: --- 〈國泰大戲院之外牆廣告〉（《良友》） --- p.33 / Chapter 圖7: --- 〈大學生之電影熱〉（《電影月刊》） --- p.84 / Chapter 圖8: --- 《影戲雜誌》創刊號 --- p.119 / Chapter 圖9: --- 《良友畫報》第一期封面 --- p.137 / Chapter 圖10: --- 〈范朋克、黃柳霜與伍聯德的合照〉(《良友》） --- p.139 / Chapter 圖11: --- 「電影專刊」封面，（《良友》） --- p.140 / Chapter 圖12: --- 〈阮玲玉〉（《良友》第30期封面） --- p.144 / Chapter 圖13: --- 〈阮玲玉〉（《良友》第99期封面） --- p.144 / Chapter 圖14: --- 〈女人女人女人〉（《良友》） --- p.145 / Chapter 圖15: --- 〈美的佈景〉（《良友》） --- p.147 / Chapter 圖16: --- 〈體育皇后〉與醫藥廣告（《良友》） --- p.148 / Chapter 圖17: --- 〈上海的聲.光.電〉(《良友》） --- p.150 / Chapter 圖18: --- 〈都會的刺激〉（《良友》） --- p.151 / Chapter 表1: --- 1920 ´ؤ1930年代美國影片公司發行機構 --- p.40 / Chapter 表2: --- 1909年至1937年上海各電影製片公司出品數量 --- p.49 / Chapter 表3: --- 1933年1月至6月上海各影院映片出品國別統計（《明星月刊》） --- p.78 / Chapter 表4: --- 1931年上海規模大的影戲院列表(《影戲雜誌》) --- p.80 / Chapter 表5: --- “到電影院去的目的´ح（〈大學生與電影〉，《電影月刊》） --- p.83 / Chapter 表6: --- 1920-1937年上海出版的主要電影期刊 --- p.111 / Chapter 表7: --- 1930年代上海主要電影副刊與專欄 --- p.115 / 附錄： / 附表1 ： 1935年放映外國影片之上海電影院 / 附表2:1935年放映國片之上海電影院 --- p.179 / 附表3:1909-1937年上海各電影公司出品數量統計表 --- p.180 / 附表4:1926-1937年《良友畫報》之部分電影內容列表 --- p.181 / 附表5 ： 1926-1937年《良友畫報》刊載的上海地方素描 --- p.184 / 參考資料 --- p.185

This study will focus on Quentin Tarantino's three most recent films: Kill Bill: Volume 1 (2003), Kill Bill: Volume 2 (2004), and Death Proof (2007). These works are significant, in that they present a marked departure from the director's earlier films. Specifically, they offer portrayals of resourceful and powerful female protagonists, in stark contrast to the frequently neglected and marginalized women of Reservoir Dogs (1992) and Pulp Fiction (1994). Buttressed by a mixture of psychoanalytic feminist and postmodern theories, I will perform a careful textual analysis of these latest films. In particular, I intend to uncover the ways in which Tarantino's films support and/or subvert traditionally oppressive conceptions of gender. / by Marc R. Fedderman. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

by Grace Leung Lai-kuen. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1993. / Includes bibliographical references (leaves 120-124). / Preface --- p.ii / Abstract --- p.iii / Contents --- p.iv / Chapter Chapter 1. --- Introduction --- p.1 / Chapter Chapter 2. --- Theoretical Review and Method of Study --- p.5 / Chapter i) --- An Anomaly to Media Imperialism / Chapter ii) --- Inadequacies of Non-Marxists Theories / Chapter iii) --- Analytical Framework / Chapter iv) --- Research Questions and Research Design / Chapter Chapter 3. --- Hong Kong as a Regional Movie Production & Export Centre -- a Statistical Review --- p.19 / Chapter i) --- Hong Kong as a Movie Production Centre / Chapter ii) --- Hong Kong as a Movie Export Centre / Chapter Chapter 4. --- Evolution of the Movie Industry in Hong Kong -- a socio-historical analysis --- p.44 / Chapter i) --- An Overview / Chapter ii) --- Stages of Development / Chapter 1) --- Initial Period / Chapter 2) --- Nascent Period / Chapter 3) --- Growing Period / Chapter 4) --- Developing Period / Chapter 5) --- Quiescent Period / Chapter 6) --- Reconstruction Period / Chapter 7) --- Prosperity Period / Chapter 8) --- Declining Period / Chapter 9) --- Revival Period / Chapter Chapter 5. --- In Search of an Explanatory Framework --- p.77 / Chapter Chapter 6. --- Conclusion --- p.111 / Appendices --- p.118 / Reference --- p.120

This thesis explores the historical, theoretical and philosophical development of cinematic media as a collective form of technological perception and consciousness. Central to my inquiry is the philosophical notion that with the invention of cinema emerges a cyborg vision, a new modern mechanics of thinking that extends the phenomenological and epistemological experience of human perception and knowledge into hitherto unknown realms of thinking, sensation and being. Drawing on some of the key cultural thinkers and philosophers of the twentieth century, including Walter Benjamin and Gilles Deleuze, as well as contemporary philosophers of media such as Jonathan Beller, Sean Cubitt, D.N. Rodowick and Mark B. Hansen, my research into the philosophy of cinema and digital media articulates a branch of media theory that reads the political economy of the moving image through an amalgam of continental philosophy, marxist theory and film studies. Coterminous with the investigation into the philosophical object of cinematic or media consciousness, the thesis also endeavors to map the historical genealogy of the moving image as it evolves from the industrial mechanics of cinematic technologies to the virtual informatics of digital culture. Central to this inquiry is the idea that the history of cinematic and visual media is inextricably connected with the rise, towards the end of the twentieth century, of postmodern consumer culture and the global information society. The transition from a modern industrial economy to a postmodern information economy that reorganises the logic of production according to the 'variables' of scientific knowledge, communication and informational technologies, parallels a metamorphosis in our media consciousness as the representational ontology of cinematic moving image is transformed by the virtual ontology of the digital image. The first part of my thesis looks at the period of industrial cinema, focusing on Soviet constructivism and the films of Dziga Vertov and Sergei Eisenstein. In this section I trace the origins of cinema as a mode of communication for the commodity, examining how the modern cinematic imaginary opens up new economies of vision and sensation for capital. Following this investigation into what Jonathan Beller calls the cinematic mode of production, the second part of my thesis proceeds to investigate how cinematic consciousness is transformed from the industrial to the post-industrial era. Taking Deleuze's historiographical demarcation of cinema into the two regimes of the 'movement-image' and the 'time-image' as a philosophical frame, the second section of my thesis investigates how in the post-war films of the Italian neorealists and Michelengelo Antonioni our cinematic consciousness develops a new way of thinking the ontology of time and space. This analysis leads into my discussion of how in the age of digital special effects and the Hollywood blockbuster, cinematic consciousness is further expanded with the time-consciousness of the 'virtual' as our bodies attempt to accommodate the heightened flows of information that bombard our senses in the interfaces of digital culture.

In part three 'Women·Song and Dance-Vernacular' (chapter 5), I deploy film textual analysis, focused on one female image--the sing-song girl, and in this part, I try to identify the differences and similarities of soft film and Li's soft songs and dances. From the perspective of women and on the basis of comparison, I try to study the hybridity of Chinese vernacular in left-wing films. / In the first part 'Poems·Music·Vernacular' (chapters 1&2), I draw upon intermediary and interdisciplinary research methods, to analyse the interrelationship between Hu Shi's vernacular poems and Li Jinhui's popular songs. Focusing on Li Jinhui's musical practices from the May Fourth to the 1920s and the 1930s, I try to analyse and summarize the two key features of Chinese vernacular modernism: intertextuality and hybridity, characterised by the mixture of different cultures and discourses (including urban popular culture, intellectual high culture, official culture, traditional folk culture and so on), and the dialectical relations between body and sense and enlightenment and education ('Entertainment with Enlightenment', Yu Jiao Yu Le). / In the second part 'Vernacular·Songs·Sound films' consisting of two chapters (3&4) , I will analyse film magazines, such as Film Magazine (Yingxi zazhi), Movie Magazine (Dianying zazhi) and Modern Cinema (Xiandai dianying), film texts, such as Street Angel (Malu tianshi, Yuan Muzhi, 1937) The Big Road (Dalu, Sun Yu, 1934), Children of Trouble Time (fengyun er nuˇ, Xu Xingzhi, 1935), The New Year's Coin (Yasui qian, Xia Yan, 1937), etc., and I draw a picture of Chinese early cinema's vernacular scene, before and after the arrival of sound. Specifically, from the perspective of the musical tune and lyrics of film songs, I attempt to analyse the hybridity of Chinese vernacular embodied especially in left-wing films. / The dissertation has three main sections. / This dissertation is focused on analysing the film culture of Chinese early cinema from the perspective of sound, from 1930 to 1937. The theoretical development of this dissertation is based around the concept of vernacular modernism, proposed by Miriam Bratu Hansen and developed by Zhang Zhen. I will not simply borrow this theory but use it within a critical framework. I attempt to rethink its meanings in the Chinese context, and on this basis, I will propose a new account of early Chinese sound film's vernacular modern history. / 魏萍. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 262-267). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Wei Ping.

Thesis (PhD)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world. / AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.

Shin, Kei-Wah Victor. / "November 2010." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 177-198). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgments --- p.iv / Table of Contents --- p.vi / List of Tables --- p.ix / List of Figures --- p.xii / Chapter Chapter 1: --- Framing the Puzzles --- p.1 / "INTRODUCING: ""The Curious Case of... a Fallen 'Asian Hollywood'""" --- p.3 / METHOD AND DATA --- p.6 / STRUCTURE OF THE THESIS --- p.12 / Chapter Chapter 2: --- "“The Blind Side"" of Existing Explanations" --- p.15 / CONVENTIONAL EXPLANATIONS --- p.17 / Triad Intrusion and Piracy --- p.17 / Hasty and Unpolished Productions --- p.19 / EXPLANATIONS DERIVED FROM THEORETICAL PERSPECTIVES --- p.21 / The Cultural Imperialism approach --- p.22 / The Cultural-flows/ Network approach --- p.27 / Suppositions related to the Cultural-flows/ Network approach --- p.32 / The Reception approach --- p.36 / The Cultural Policy and Strategies approach --- p.41 / What about the Receiving Countries? --- p.46 / THE POLITICAL-CULTURAL APPROACH --- p.48 / Chapter Chapter 3: --- The “Bloom´ح in the 1970s and the 1980s --- p.53 / "THE ""BLOOM""" --- p.53 / BRINGING IN THE POLITICAL-CULTURAL APPROACH --- p.57 / THE INDUSTRIAL SETTING OF THE HONG KONG FILM MARKET VIS-A-VIS HOLLYWOOD --- p.59 / THE SOCIAL STRUCTURE OF THE HONG KONG FILM MARKET --- p.62 / From Studio System to Independent Production System since the 1970s --- p.63 / The Revenue-sharing Structure --- p.68 / """CONCEPTIONS OF CONTROL"" IN THE HONG KONG FILM MARKET (1970s - 1980s)" --- p.70 / Distributor-driven Exhibition --- p.72 / Distributor-driven Production --- p.75 / HONG KONG FILM INDUSTRY AT ITS PEAK IN THE LATE 1980s --- p.81 / SUMMARY --- p.88 / Chapter Chapter 4: --- "The ""Twilight"" since the mid-1990s" --- p.91 / WHAT HAPPENED DURING THE 1990s? --- p.91 / The Plot in Brief --- p.92 / THE KEY TO SUCCESS TURNS INTO A SOURCE OF STRESS --- p.97 / "Conventional Practices inscribed in the ""Conceptions of Control""" --- p.99 / The Entwined Financial Practice --- p.99 / The Exclusive Exhibition Practice --- p.101 / What caused a Turn in the late 1980s? --- p.102 / "The ""Meteor Shower"" of Taiwan Capital" --- p.102 / China's Cinematic Reform --- p.104 / "The Resultant Cross-Strait “Industrial Complex""" --- p.106 / The Exogenous Shock Induced --- p.108 / Reduction of Theatres in each Theatre Chain and its Impact --- p.110 / The Consequence of Exclusive Exhibition Practice --- p.113 / The Consequence of Entwined Financial Practice --- p.114 / A REVERSAL OF FORTUNE IN 1993 --- p.117 / "The Short-lived ""Newcomers""" --- p.119 / The Rising Land Price --- p.122 / The Ebb Tide of the Taiwan Capital Flood --- p.128 / The Last Samurai and the Finale of the Distributor-led Production System --- p.134 / Summary --- p.138 / TRANSFORMATION IN THE HONG KONG FILM MARKET --- p.139 / The Return of the Challengers: Distributors of Foreign Movies --- p.143 / "The Emergence of New ""Conceptions of Control""" --- p.147 / The Impact on Film Companies producing Local Movies --- p.151 / Chapter Chapter 5: --- "A ""Revolutionary Road"" to the Peak and Drop" --- p.156 / A BRIEF REPRISE --- p.156 / "The ""Bloom"" in Retrospect" --- p.158 / "The ""Twilight"" in Retrospect" --- p.161 / IMPLICATIONS OF THIS STUDY FOR EXISTING APPROACHES --- p.168 / Implications for the Cultural Imperialism approach --- p.168 / Implications for the Cultural-flows/ Network approach --- p.169 / Implications for the Reception approach --- p.172 / AN INTEGRATIVE APPROACH TO CURRENT THEORIES --- p.174 / LIMITATIONS OF THE RESEARCH AND SUGGESTIONS FOR FUTURE DIRECTIONS --- p.175 / REFERENCES --- p.177

This thesis examines the fragile perimeter that separates an illusory reality from the supposedly more authentic Real it conceals, which forms a key focus of Slavoj Žižek’s work, and in this thesis I offer a study of the relations between this aspect of Žižek’s work and film theory. In particular, this thesis is an elaboration on and interrogation of Žižek’s employment of the Lacanian notion of the Real in critiques of the inadequacy of 1970s and 1980s film theory and its widespread adoption of a Lacanian model of film-spectator relations. By way of illustration, I consider the microgenre of films released between the years 1998 to 2000 that includes the Matrix trilogy, David Fincher’s Fight Club, Peter Weir’s The Truman Show, and Alex Proyas’ Dark City, which are all similarly fascinated by the border between a fake reality and an ostensibly more genuine real. However, I also argue that this cycle of films does more than illustrate a fascination with that which is in excess of signification: this cycle of films equally participates in the reappraisal of this important phase of film theory. This thesis proceeds from a consideration of Žižek’s assertion that Lacanian psychoanalysis is missing from the dominant field of film theory. To assess this claim, I re-examine the era of political modernism. From this it becomes clear that what Žižek is noting is not the total absence of Lacanian psychoanalysis, but, rather, an absence of the version of Lacan to which he is drawn. This thesis considers aspects of the Real that contaminate the form and matter of these films, in addition to the thematic exploration of the shadowy world beyond reality. In pursuing this investigation, this thesis utilises the insights of the deconstructive work of Jacques Derrida, to consider the terms ‘form’, ‘content’ and ‘matter’. These words are ubiquitous in film studies, and I aim to explicate not their final meaning, but the way in which the Real interrupts the very stability of vocabulary used in film studies. I interrogate the concepts of gaze and voice as privileged instances of the way in which the Real can rupture the symbolic in narrative film. Without seeking to reject these aesthetic figures, through critical readings of key theories of embodiment, the grotesque and the abject (such as those of Marks, Shaviro, Sobchack, Bakhtin and Kristeva), I suggest how the body and its representation provides a more sustained motif where the Real leaves its trace in these films. This thesis proposes that it is above all through such representations that these films offer a response to the themes with which politically modernist film theory has been historically concerned. The Edge of the Construct films achieve this in their evocation of an intolerable namelessness at the centre of the human subject and the social world it inhabits. / Thesis(Ph.D.) -- School of Humanities, 2008

This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war years. The work of H.D. and T.S. Eliot is explored in the light of these new structural elements, and the formal questioning of the subject through the interplay of 'we' and montages of location and address in the poems. The pre-war years are portrayed in these works as a time of shame, and the war as a possible means of redemption, perhaps through suffering, or through the new subjectivity of the wartime community. The documentary movement provides an opportunity to trace these formal changes in a historical and institutional context, and with the work of Dylan Thomas, the relations between mass and high culture, film and poetry, are investigated, as well as the representation of the Blitz, in which guilt is sublimated into celebratory transcendence. These aspects, and the adaptation of a European avant-garde to meet British cultural needs, are examined in the work of the Apocalyptic movement. The last structure of feeling is reconstruction, which is related to Herbert Read's thought, but shown to inform all these other works and to be a linking-point between ideology and the structure of the text, formed as an organic unity that promises a reconstructed post-war society.

La proposition centrale de cette thèse est double. D’une part, il s’agit de jeter les bases d’un modèle historique qui réunirait tous les dispositifs audiovisuels qui associent des images animées à une chanson populaire qui leur est préexistante sous un même paradigme culturel que nous baptiserons « phono-cinématographie ». Celui-ci aurait débuté vers la fin du XIXe siècle, avec l’invention du kinétoscope d’Edison, pour aboutir à nos jours avec l’émergence des vidéos musicales interactives sur Internet. D’autre part, il s’agit de nous interroger sur le rôle a priori central que les Beatles occupent au sein de cette histoire de la chanson populaire mise en image. Notre hypothèse principale est que le vidéoclip, tel qu’il s’est institutionnalisé au début des années 1980 pour ensuite se perpétuer jusque dans les années 2000, n’a rien d’une pratique culturelle (voir même d’un média) figé(e) :bien au contraire, cette pratique/ce média a été l’objet de réélaborations continues tant sur le plan de la production, de la diffusion que de la fonction.<p>Notre approche se situe à cheval sur l’histoire du cinéma, de la musique populaire et de la télévision. En nous appuyant sur certaines propositions théoriques et certains concepts formulés dans le champ des études cinématographiques ainsi que dans le champ des performance studies, nous serons particulièrement attentif aux questions de représentation qui se déploient dans ces différents dispositifs phono-cinématographiques :à savoir, les premiers films chantants (les phono-scènes Gaumont et les Vitaphone shorts), les juke-boxes équipés d’un écran (les Soundies et les Scopitones) et enfin les vidéos musicales télévisées (les films promotionnels et les vidéoclips). / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished